Trina Mannino – NYC, NY U.S.A.

Photo: Emma RaynorChoreographer: Trina Mannino Artist Statement/Philosophy/Mission Statement:As a young child, my family called me “inquisitive” as I asked question after question, ranging from the mundane to the esoteric variety. Despite my constant prodding in my formative years, my curious nature still hasn’t slowed in my adulthood. But fortunately for my friends and family, I now have a way to channel my need to question: in my career as an artist and writer. As a young, emerging artist, I’m constantly questioning the motivations behind my work and the works of others: What does that gesture signify? Why did you choose that color of lighting instead of another? How would the dance change if you changed your facing? I find that using the journalistic approach, “who, what, when, where, why and how,” helps me organize my thoughts, and allows me to show a clear trajectory of actions. Although it may seem basic, this method enables me to clearly identify the problem when an idea isn’t working, and it also helps me create logical transitions between steps or sections of a dance. I do realize this method is not foolproof, and if I don’t take risks, my work will be predictable and stale. The biggest challenge for me as an artist is to successfully sneak in an element of surprise into my dances without interrupting their natural progression. When facing this task, I know must fearlessly take the plunge, and take the advice of one my favorite authors, E.B. White, when he said, “Be obscure clearly.”

Short Artist/Company Bio:

Trina Mannino studied dance at the University of Michigan under Amy Chavasse, Bill Deyoung, Jessica Fogel, Judy Rice, Peter Sparling, and Robin Wilson. During her time at U of M, she had the pleasure of dancing in a number of works by her peers and faculty and in guest choreographer, Laura Dean’s, revival of “Impact.” After graduating in 2009, Trina relocated to New York City to pursue a career in dance and writing. She has performed with Anabella Lenzu’s Dance/Drama, The Next Stage Project, and Laura Peterson Choreography, in addition to presenting her own work. She also writes for The Brooklyn Rail, Hour Detroit Magazine, and Uptempo Magazine covering dance and culture.

Describe some of your achievements over the course of the last five years:

In 2005, I began studying dance at the University of Michigan and was a two year recipient of the Susan Butch Fund. While at U of M, I studied with Amy Chavasse, Lindsey and Jason Dietz Marchant, Judy Rice, Peter Sparling, in addition to Modern Guest Faculty who dance(d) with Doug Varone and Dancers, Mark Morris Dance Group, and Martha Graham Dance Company. My curriculum consisted of daily modern and ballet technique, improvisation, repertoire, and seminars in music theory, pedagogy, and criticism. I had the opportunity to perform works by students, faculty such as Bill Deyoung, Jessica Fogel, and Robin Wilson, and Guest choreographer, Laura Dean. In May 2009, I graduated with a BFA in dance and a BA in communications.

In addition to my studies of U of M, I was a member of the Mack Avenue Dance Company (MADC) in Detroit, Michigan. While dancing for MADC, I had the opportunity to perform works by Jana Hicks of the Next Stage Project, Chris Masters and Colleen Thomas of Bill Young and Dancers at the 555 Gallery and Wayne State University in Detroit.

During the summer of 2007, I attended State Street Ballet’s Summer Intensive as a scholarship student in Santa Barbara, CA. While taking classes in ballet, modern, pointe, and repertoire, I studied with SSB’s artistic director, Rodney Gustafson, as well as with Richard Dickinson and Nancy Colahan. Concluding the intensive, I performed with State Street Ballet students and company members at the Lobero Theater. The following summer I spent two months in New York where I attended repertoire, partnering, and improvisation workshops under the direction of Bill Young and Dancers, Monica Bill Barnes Company, and The Next Stage Project.

In 2009, I relocated to New York City to pursue a career in dance and writing. Since then, I have had the opportunity to perform with Anabella Lenzu’s Dance/ Drama at the Merce Cunningham Studios in October 2010, Jana Hicks’s The Next Stage Project at NY City Center Studios in March 2010, and Laura Peterson in various sites in Lower Manhattan for a site-specific piece in June 2010. I have also had the pleasure to present my own work at The Betty Pease Studio in Ann Arbor, MI, Grosse Pointe Dance Center in Detroit, MI, The Ox in Philadelphia, PA, and WaxWorks in Brooklyn, NY.

What do you hope to gain from the experience of participating in this festival?

It would be an honor to be a part of the Sb-ADaPT Festival, because festivals are exciting places for artists to exchange their work and ideas in a safe and nurturing environment. Not only do I want to receive feedback about my own work, but I’m excited to have an open dialogue with artists about their own creative processes and experiences in the field. I hope to meet and connect with artists from all walks of life, because I believe you can learn something valuable from each person no matter what stage they are in their career.

Have you participated in other festivals or showcases?

Yes, as a dancer at the American College Dance Festival (ACDFA) in 2008 and 2009, and as a dancer and choreographer in WaxWorks in Brooklyn, NY in February 2010.

If so – what were elements you enjoyed and what areas do you think could have been

improved on?

I especially enjoyed being able to receive feedback from the adjudicators at ACDFA and audience members at WaxWorks, because their feedback allowed the works to grow and take it to the next level after each respected experience. In future festivals and showcases, I want to dedicate part of the experience to observe more of my colleagues’ work not only on stage but in seminars and classes as well.

What Trina will be bringing to the Festival

Trina will be shaping this specifically for the Fishbon space. We are hoping she uses LOTS and LOTS of dirt. 

Title: Root.Stem.Flower

Number of performers: 1

Brief Description of the Work: Root.Stem.Flower began as a choreographic assignment, in which I was instructed to create a movement triptych or a dance with three parts. As the work developed, I found that the growth of a flower also signified my journey into adulthood — an experience that encompasses periods of growth, messiness, strength, and beauty.